Announcing the KAOSSILATOR PRO – a supercharged version of the palm-sized KAOSSILATOR, reborn as a powerful track-making tool and loaded with live performance power.
As a trailblazer among the "instrumental gadgets" that allowed anyone to easily create melodies and phrases, the KAOSSILATOR gained a strong and dedicated user base, even among those without any performing experience. Today, the KAOSSILATOR continues to be enormously popular. Retaining these revolutionary features – while adding a wide variety of new ones as well – is the new KAOSSILATOR PRO. With 200 sound programs, a new Electribe-inspired gate arpeggiator, and four loop recording banks that can even record external audio sources, the KAOSSILATOR PRO is packed with features that make it ideal for both live performance and premium productions. In addition, USB connectivity with your computer and SD card memory storage allow the KAOSSILATOR PRO to be used not just for improvised performances, but also as a superbly intuitive, track-making music production tool.
Main features
* KAOSS X-Y touchpad offers intuitive, realtime control
* 200 sounds covering modern synth sounds such as lead and bass, and diverse acoustic sounds from piano to trumpet and beyond
* PCM samples provide dramatic drum kits and ready to rock percussion patterns
* Vocoder programs deliver scintillating vocal effects
* Access up to eight of your favorite sounds instantly using the assignable Program Memory buttons
* Loop Recording can layer both internal Program sounds and external audio overdubs
* Four Loop Record Banks each allow up to four measures of loop recording, with easy muting that allows expressive realtime layering and DJ-Style re-mixing – ideal for live performance.
* Gate Arpeggiator repeatedly triggers sounds in sync with the tempo. The slider controls either the gate time or gate speed.
* Choose a key and select one of 31 musical scales to easily create musical phrases. Limit the X-Y pad's note range for even more control
* Loop data, user settings and Program Memories can be stored on SD card
* Dedicated software lets you manage loop data, MIDI assignments, and user settings from your computer
* Performs double-duty as a MIDI controller for external equipment or software applications
"Unboxing my new semi-modular synth. This time it's SEM Pro by Tom Oberheim. Beautiful piece of gear.
The sequence is SEM Pro CV controlled by Oberkorn sequencer from Analogue Solutions. Low tones are VCO 1, high tones are VCO 2. Sound is further processed through the vintage tape Roland Space echo for delay and Strymon Big Sky for reverb. Audio is stereo output from the Motu interface into Ableton Live.
Camera is Go Pro Hero 4 Black, edited in Final Cut Pro."
"Do not miss the individual voice filter tuning at 1:33 on.
I wish they'd come out with a Creamware ASB type box for this. I think I'd buy one in a heartbeat.
click on this search for OP-X for more posts including video. Don't miss the V-Machine videos below."
You will notice that the sound of course is much better without the youtube compression. If you want to exactly recreate the examples you also need to play the same voices, which can be recognized by their panorama setting
To keep everything uncolored and clean for a real 1:1 comparison the stereo outputs of OB-X were recorded directly to daw using an apogee converter. OP-X PRO was rendered directly to harddisk as well.
Furthermore all voices of OP-X PRO before were calibrated to the exact same settings (pan, filter cutoff) as the corresponding voices (6 as well) in the hardware device. With a few exeptions always the same voices were compared by always starting at the same voice position in the circular allocation, which might sometimes give the impression that the same audio file was used. But if you listen very carefully there still can be noticed tiny differences. OB-X generally is a tad bit slimmer and brighter sounding with more weight in the heights and less in the mids while OP-X PRO is a bit darker and has more weight in the mids.
This modeling technology used by OP-X PRO is based on completely independent voices with separate signal path and slightly differend sound, as it is the case too in voltage controlled polyphonic analog synths which in fact are based on separate monosynths that are globally controlled. Other than real synths OP-X PRO allows to globally activate and deactivate the detunings of individual parameter groups on demand as well as fine tuning them for each voice separatly with virtual trimpots. This allows for a wide palette of colors between completely "pissed off" and tight and precise. This allows to recreate the character of different synths or to copy the voice settings and character of one specific device in its current state, as it has been done in this video.
The detunings of the following parameter groups can be independently activated and deactivated as well as tuned in detail per voice:
- oscillator pitch
- filter cutoffs
- filter envelope times
- portamento times
All settings of course can be saved with the preset. Have a look at the video to learn what impact those fine tunings can have on the general character of the sound."
Oberheim OB-X vs. V-Machine (OP-X)
Oberheim Digital: OP-X and V-Machine
"SonicProjects VM Bundle hosted by the SM Pro Audio V-Machine. Playing some presets of OP-X while tweaking parameters with an external controller device.
The masterkeyboard is an EMU X-Board 61 and the controller device a Behringer BCR2000. Both are connected by USB cable to the V-Machine.
Combined with the pre-mapped banks and the custom sysex preset of the included BCR2000 toolkit BCR2000 allows to remotely control every single parameter of OP-X (83 in total).
With MIDI feedback activated in the V-Machine the controls on the BCR automatically update to the settings of the new preset on preset change which allows for value jump free parameter control.
This setup can serve as a complete replacement of a real analog hardware synth offering digital reliability and great transportability without missing the beloved fat and organic sound.
The used presets are:
01 - Jump!
02 - OB-Xa SyncSolo
03 - Shine On Solo
59 - SEM Upsweep
55 - OB Sustained Strings
To know which parameter is mapped to which control the included BCR2000 Toolkit contains handy printable mapping templates."
V-Machine: SonicProjects VM Bundle
"The VM Bundle was exclusively made for the SM Pro Audio V-Machine, the V-Rack and VFX Mac and PC, with a lot of adaptations and optimizations... The Korg DW-8000 is only used as a midi master keyboard. All sounds you can hear is what comes out of the stereo line outputs of the V-Machine, with no further processing. Presets are either switched manually directly on the V-Machine or by midi remote program change from the master keyboard's preset changer."
"Dark Arcade is a $120 paraphonic synthesizer with digital oscillators and an analog filter, amplifier, envelope generator, and LFO.
What is Dark Arcade?
Dark Arcade is intended to be an entry level hardware synthesizer for musicians looking to branch out from software synthesizer based workflows, as well as a distinctive addition to any hardware synthesizer collection. Its hardware features microcontroller-produced digital oscillators, an analog OTA band-pass and low-pass filter, an analog OTA amplifier, an analog ADSR envelope generator, an analog LFO, and MIDI input and output. External audio can be processed by the filter and amplifier section and external CV signals can be used to control the filter cutoff and amplifier gain. In addition to the hardware features, the software extends the feature list to include 4 voices of paraphony, 8-bit Karplus Strong synthesis, waveform blending, and many more. Below is a song produced with Dark Arcade in which all sounds (minus drums) are generated by Dark Arcade and then mixed with some basic effects (delay, reverb, and compression).
"I recently finished building the Weston Precision Audio Pro2021 from the Synthcube.com kit. It was an amazing experience to build an entire synth from a giant box of parts, and I had a ton of fun. This synth is a clone of the venerable Sequential Pro One from the early 80s and it sounds incredible. It may seem limited but it offers tons of sound design capabilities, and it's certainly a lot of fun to play. Like with most synths, once you add reverb and delay you can't really go wrong.
This is just an informal, not very well prepared noodle on it. The Pro2021 has midi and CV control options on the back panel, and here I'm using my modular rack to drive the clock which drives the arpeggiator rate. The audio outs are going into the modular's mixer, and effects are from the Strymon Starlab and Veno-Echo. This particular patch is highlighting the oscillator sync feature, which I love the sound of. The internal LFO is modulating the pitch of Osc 1 and Osc 2 is set to triangle wave. Sounds big and fat and crisp and clean all at the same time. Cheers!"
Fractal Audio VP4... with a Synthesizer. Is it any good?
"Oddly, when researching the VP4, I couldn't find any demos of it being used with a synth, so I bought it anyway to see if it would be a good match. And yes, most emphatically yes, it is! It was immediately apparent they would go well together - and having only played around with the VP4 for a couple of hours, I thought this video might help others decide if it could work for them.
Obviously, the VP4 does so much more than Drive, Chorus, Delay and Reverb, but those are bread-n-butter effects, so I stuck with those for this quick sound demo. I've since messed around with other effects in the VP4, and found all kinds of great sounds.
The synth is a Weston Precision Audio Pro2021 - a clone of the legendary Sequential Pro One. I built this from a DIY kit I bought from SynthCube.com. It's a simple mono-synth, with no built in effects, and it really does sound excellent - and even more so with a little effects (or a lot of effects). It's filter is super resonant and easily gets squelchy, but that enables some of the greatest sounds when you play with the cutoff knob. ;-)
The recording is direct mono out from the synth into the VP4, stereo out from the VP4 to the iRig Pro Duo that's connected to my old iPhone 12. I opened the audio file in Presonus StudioOne to see if it needed some EQ or compression or normalizing, but I decided to leave it completely raw. I made no changes to the audio whatsoever.
So, I am completely sold on the VP4. I have a load of other effects pedals, including the Eventide H90, and this thing is amazing. The quality of the effects and the build are absolutely top notch, and the user interface is so easy to use right out of the box. It's way way way easier to mess with than the H90...
"This release video for Numerology 4.0 features several demo tracks included with the download."
"Nine Things To Know About Numerology 4....
1. Numerology is a Step Sequencer.
At it's core, Numerology is all about building musical phrases by starting with simple patterns of repeating notes, and then manipulating the pattern with a set of easily applied transformations. Pattern rate, length, direction, inversion, start & end points, skipped steps, probabilistic jumps and mutes, these can all be triggered at anytime, and are all setup to be usable while performing.
* VCF FM : Amazing new sounds are now added through this feature. Six FM sources are available
* LFO Clock Input : Syncing Arpeggiator and LFO to external drum modules and sequencers is now possible. As well, interesting feedback loops can be created.
* PW Modulation Source Selection : Now you can choose a pulse width source. It is independent from the LFO's waveform setting. OSC sources are included. * Pulse width to near 0% : Pulse width effects are now made more extreme and powerful
* External audio input : the ability to do FM of VCF by an external audio source or to simply route a signal into the audio path is now provided.
* VCF CV input : Just plug in a foot pedal or a CV from a midi converter and your sh-101 will sing!
* LFO rate Scalar : Ever hear a bell sound out of sh-101? Try this on Hi! Want a really slow sweep...you got it too.
* Overdrive Knob : Filter Cleaning
Nova Mod Details :
Pulse width to near 0% - By closing the pulse-width to a spike, new sounds can be attained by the sh-101. This "spike" wave source is very useful for brightening a bass patch. (A bass patch, with only the sub OSC waveform assigned, can be brightened, but not raise in pitch, by adding a little pulse width signal with a manual setting of less than 1% duty cycle.) In another application, in which only full ramp waveform is assigned, manually raising and lowering the spike waveform's amplitude has been compared to sounding like a wavetable sweep. As well, LFO mudulation of the pulsewidth is made more dramatic because of the closer approach to 0%.
Pulsewidth Modulation Source Selection - A six-way rotary switch enables you to choose the pulsewidth modulation sources independently of the LFO's waveform setting. This modulation source makes many new and interesting sounds. A randomly modulated pulsewidth is especially unique and pleasant. The PW modulation sources are LFO Triangle / LFO Square / LFO Random / Sub Osc -1 Octave Square* / Sub Osc -2 Octave Pulse* / LFO Noise *The sub Osc Mod sources creates a unique bass enhancement because of their higher frequency and keytracking. The result is a richer and deeper sound. As well, although there are only two sub Osc sources, changing the sub Osc switch -1/-2/-2 results in even further modulation effects.
LFO Rate Scalar - A three-way toggle switch scales the overall range of the SH-101's internal LFO Clk (the existing lfo rate slider still functions normally). The scalar setting are Normal/Low/High. In the Low setting, a cycle of 40 seconds can be attained. This is great for mild changes in "trance" type music. In the High Mode, up to 1200Hz can be used to create interesting cross-mod bell like sounds. Perfect for "industrial" music and clanging metallic sounds. High mode works especially well when creating synthetic kick drum patch or short-wave radio sounds.
LFO Clock Input - A 1/4" jack allows the insertion of an external clock signal to drive the 101's LFO. This injected signal triggers the LFO but does not change it's waveform. By applying a clock, LFO and Arpeggiator are both synced to the external source. This makes for very moving and groovy patterns with only a drum box and Nova-Modded 101. A particularly nice application is to modulate the VCF Cutoff with a Random LFO while playing the sequencer. Of course you can, at the same time, inject a separate clock into the arpeggiator via the 101's Ext Clk jack. This will enable you to run the arpeggiator and LFO at different speeds. As a bonus, audio can be injected to drive the LFO. A simple trick is to patch the headphone output into the Ext' LFO input. This feedback loop makes for sounds that can be mildly distorted to heavily distorted by simply adjusting the VCF's mod amount.(No need for an external distortion processor!) This effect is great for slow sweeps with a resonating filter setting.
External Audio Input - A 1/4" jack and toggle switch allows external audio to be injected. A rotary pot controls the amplitude of the injected signal. It can be routed to one or two sources. 1./ directly into the filter along with the OSC's waveforms. External processing of audio through the VCF and ENV is . 2./ into the VCF's cutoff modulation point. (An external FM source.)
VCF CV Input - An external CV can be applied to the 101 via this 1/4" jack. This feature is typical on a Juno-60, Jupiter 4 and Pro-One. A MIDI controller converted to a cv or an "expression" foot pedal are typically connected one.
VCF FM - VCF Fm is the most powerful NOVA-MOD feature. It can be used in moderation to simply add bringtness to a bass patch with low frequencies (due to subtractive synthesis). Or it can be used to create powerful cross-mod sounds that are difficult to explain....they must be heard. These sounds are somewhat aggressive, distorted, bell like but most importantly, not attainable on a regular SH-101. One example : Dial a patch with only ramp waveform assigned but at the same time, modulate the VCF Cutoff with the Pulsewidth. Manually change the pulsewidth to vary the FM effect. It is quite unique. You can then switch in Sub Osc -2 Oct. Pulse as the Fm source then adjust the -1oct/-2oct/-2oct switch to change the sound further. Finally swing the Pulsewidth waveform as the Fm source but switch from Manual to LFo modulation and then play with the PW Mod's waveform. A rotary pot controls the amount of modulation. A six way rotary switch selects the FM sounce : Pulse / Ramp / -1 Octave Sqr / -2 Octave Sqr / -2 Octave Pulse / Noise Waveform"
"LFO2 is being applied this time to the Filter Cutoff. Reonance is also controlled over MIDI here. Demo shows sample and hold stuff. Sorry for the audio/video -- it's just a flipshare cam with an internal mic.
Fast-forward to 2:00 for typical usage (the good stuff)."
MTG Pro One Turbo CPU+MIDI+CV - LFO2 MIDI Pitch Synthi Drums
thisfear | August 21, 2010
"Falling ramp LFO2 synced to key down provides a simple synth drum effect. Sorry for the audio/video -- it's just a flipshare cam with an internal mic."
MTG Pro One Turbo CPU+MIDI+CV - LFO2 MIDI Pitch Modulation
thisfear | August 21, 2010
"New LFO2 modulating the osc pitch. LFO2 is controlled using MIDI. Video shows various waveforms and stuff. Sorry for the audio/video -- it's just a flipshare cam with an internal mic."
MTG Pro One Turbo CPU+MIDI+CV - MIDI Pitch Bend
thisfear | August 21, 2010
"Simple pitch bend demo showing the CV option at work. Sorry for the audio/video -- it's just a flipshare cam with an internal mic."
"Hard to Find Pro-8 Analogue Synth Includes Road Case, Manual (Split-8 manual, this is the US version same features) and factory sounds data cassette. The Sequential Circuits Pro-8 is a very rare analogue synth. It was only sold in Japan. A modified version (without wooden sides) was later sold as the Split-8 in the US But only a few Pro-8s were produced and were actually considered to be only a rumor. It is a very rare synth indeed. It is an 8 voice bi-timbral analogue and sonically very similar to the Sixtrak and Multitrak. The voices can be layered, split or used in Unision mode for absolutely incredible 8 oscillator stacked basses and leads!! This is a very rare and cool machine Voice Architecture and Programming/Voice Architecture:/One VCO per voice, with on/off toggles for any combination of sawtooth, triangle and square waves. Variable pulse width for the square. Coarse (up to 4 octaves) and fine (to just under a semitone) tune. Programmable "poly mod" (0-15) which allows the audio output of one voice to feed another's VCF when they are layered in "double" mode. This gives 4-voice polyphony with no audio from the second voice's oscillators. One LFO, free-running (i.e. doesn't sync to key on), with programmable rate (0.25 to 20 Hz according to the manual, but see the specs below), depth, and waveform choice (triangle or square). Can be routed to any or all of filter cutoff, pitch, or pulse-width. Programmable chorus with fixed rate and frequency. Filter cutoff, resonance (to self-oscillation), keyboard track (0, half or full) and envelope amount (cannot be inverted). ADSR envelopes for VCA and the 24dB/octave VCF. Programmable polyphonic portamento rate. "Unison" mode (8 oscillators stacked; envelope triggers become "legato"; low-note priority) can be programmed. A program can be "linked" to another so that both are called up and assigned correctly in a split or layer. Note that this does not appear to work on my unit, however, which may be because the battery was dead (I have not tried this since replacing the battery). In unison mode, delay of four oscillators relative to the other four can be programmed (0, 20, 40 or 80 ms). Programmable output level for each patch. Relatively uncommon 8-voice polyphonic, bi-timbral analogue synthesizer with the ability to split or layer two patches ("double" mode). 64 patch memories. Patches may be "linked" in memory so that calling up one automatically calls up the second for a split or layer. Unison (monophonic, all 8 oscillators stacked) is possible, and programmable. Polyphonic portamento. MIDI, including system-exclusive. Front panel:Two volume pots, master tune, data entry knob, modulation and pitch wheels, various buttons for mode (double, split) and program selection, 4 x 8 grid for programming (all parameters labelled on the grid, 4 buttons down the left and 8 along the bottom). Some other functions are also listed on the panel as a reminder of which buttons to press. Metal case with light blue graphics and lettering, lots of red LEDs, black wooden end cheeks. Seems well-constructed, although on mine one of the rubber buttons has a tendency to pop out and the volume pots needed cleaning. Back Panel:Tape jacks (one doubles as footswitch input), MIDI in and out, separate A and B audio outs, mix audio out (A and B combined), power switch, fuse. Keyboard:?61 notes, C to C, unweighted. No velocity or pressure sensitivity."
Details:
NOVA-MOD UPGRADED NEW FEATURES
* VCF FM : Amazing new sounds are now added through this feature. Six FM sources are available.
* LFO Clock Input : Syncing the Arpeggiator and LFO to external drum modules and sequencers is now possible. As well, intersting feedback loops can be created.
* PW Modulation Source Selection : Now you can choose a pulse width source. It is independant from LFO's waveform setting. OSC source are included.
* Pulse width to near 0% : Pulse width effects are now made more extreme and powerful.
* External Audio Input : The ability to do FM of the VCF by an external audio source or to simply route a signal into the audio path is now provided. Don't forget feedback loops!!
* VCF CV Input : Just plug in a foot pedal or a CV from a midi convertor and your SH-101 will sing!
* LFO Rate Scalar : Ever hear a bell sound out of a 101? Try this on Hi!! Want a really slow weep...you got it too.
* Filter Overdrive : Filter cleaning knob as the filter is ovedriven at it's minimum setting and clean at max.
NOVA Mod Upgarded details :
Pulse width to near 0%
By closing the pulsewidth to a spike, new sounds can be attained by the SH-101. This spike wave source is very useful for brightening a bass patch. (A bass patch, with only the sub OSC waveform assigned, can be brightened, but not raised in pitch, by adding a little pulsewidth signal with a manual setting of less than 1% duty cycle.) In another application, in which only full ramp waveform is assigned, manually raising and lowering the spike waveform's amplitude has been compared to sounding like a wavetable sweep. As well, LFO mudulation of the pulse width is made dramatic because of the closer approach to 0%.
Pulse width Modulation Source Selection
A six way rotary switch enable you to chose the pulsewidth modulation sources independantly of the LFo waveform setting. This modulation source makes many new and interesting sounds. A randomly modulated pulsewidth is especially unique and pleasant. The PW modulation sources are : LFO Triangle / LFO Square / LFO Random / Sub OSC -1 Octave Square / Sub OSC -2 Octave Pulse / LFO Noise. The SUN OSC Mod sources creates a unique bass enhancement because of their higher frequency and keytracking. The result is a richer and deeper sound. As well, although there are only two sub OSC sources, changing the sub OSC swithce -1/-2/-2 results in even further modulation effects.
LFO Rate Scalar
A three way toggle switch scales the overall range of the sh-101's internal LFO Clk (the existing LFO rate slider still functions normally). The scalar settings are Normal/Low/High. In the Low setting, a cycle of 30 seconds can be attained. This is great for mild changes in TRANCE type music. In the High mode, up to 1200Hz can be used to create interesting cross-mod bell like sounds. Perfect for Industrial music and clanging metalic sounds. High mode works especially well when creating a synthetic kick drum patch or short-wave radio sounds.
LFO Clock Input
A 1/4" jack allows the insertion of an external clock signal to drive the 101's LFO. This injected signal trigger the LFO but does not change it's waveform. By applying clock, LFO AND arpeggiator are both synced to the external source. This makes for very moving and groovy patterns with only a drum box and NOVA MODED 101. A particularly nice application is to modulate the VCF Cutoff with a random LFO while playing the sequencer. Of course you can, at the same time, inject a seperate clock into the arpeggiator via the 101's Ext CLK in Jack. This will enable you to run the arpeggiator and LFO at different speeds. As a bonus, audio can be injected to drive the LFO. A simple trick is to patch the headphone output into the EXT. LFO Input. This feedback loop makes for sounds that can be mildly distorted be simply adjusting the VCF's Mod amount ( No need for an external distortion processor!!!) This effect is great for slow sweep with a resonating filter setting. Very minimoog-ish.
External Audio Input
A 1/4" jack and toggle switch allows external audio to be injected. A rotary pot controls the amplitude of the injected signal. It can be routed to one of two source. 1./ directly into the filter along with the OSC 's waveforms. External processing of audio through the VCF and ENV is a typical feature on some synths however a seperate trigger can be applied to fire the SH-101's envelope. 2./ intot he VCF's cutoff modulation point ( An external FM source).
VCF CV Input
An external CV can be applied to the 101 via this 1/4" jack. This feature is typical on a Juno-60, Jupiter 4 and Pro One. A midi converted to a CV or an "expression" foor pedal are typically connected here.
VCF FM
VCF FM is the most powerful NOVA-MOD feature. It can be used in moderation to simply add brightness to a bass patch with low frequencies (due to subtractive synthesis). Or it can be used to creat powerfull cross-mod sounds that are difficult to explain... they must be heard. These sounds are somewhat aggressive, distorted, bell like but most importantly, not attainable on a regular SH-101. There sounds are similar to those heard on a MiniMoog with its third LFO assigned. One example : Dial a patch with only a ramp waveform assigned but at the same time, modulate the VCF Cutoff with the Pulsewidth. Manually change the pulsewidth to vary the FM effect. It is quite unique. You can then switch in Sub OSC -2 OCT. Pulse as the FM source then adjsut the -1oct/-2oct/-2/oct switch to change the sound futher. Finally swing the Pulsewidth waveform as the FM source but switch from Manual to LFO modulation and then play with the PW Mod's waveform. A rotary pot controls the amount of modulation. A six way rotary switch selects the FM source : Pulse waveform / Ramp waveform / -1 Octave Sqr waveform / -2 Octave Sqr waveform / -2 Octave Pulse waveform / Noise waveform. As well, although there are only two sub OSC sources, the sub OSC switche -1/-2/-2 changes the sound, giving even more variety.
Filter Cleaning
Filter cleaning knob as the filter is ovedriven at it's minimum setting and clean at max. This gives a far better response curve."
"Connecting LittleBits to the larger world of audio gear generated some surprisingly musical results. With an external sequencer like Koushion driving it, you have both hands free for knobs and switches. With some creative patching and a little extra gear, it was easy to make a highly synchronized music production environment.
Ableton provided the master MIDI clock for the Koushion step sequencer app (connected to the iMac by an iConnectMIDI2+). This gave a quick interactive composition user interface, and the trigger from the LittleBits MIDI Module was used to clock the Micro Sequencer Module controlling the Filter Module’s cutoff frequency.
The LittleBits system is the only audio source in this video. Its audio output was run into Ableton for effects processing. Since Ableton’s tempo-based effects were synced to the same clock as Koushion and the LittleBits Micro Sequencer, complex, yet cohesive sounds are easy to create, and sound great.
"The LittleBits CV Module’s Control Voltage input and output allows LittleBits systems to modulate and be modulated by a world of electronic music equipment. Everything from large modular synthesizers to new small analog synths, even some effects pedals are fair game.
In these examples a Dave Smith Instruments Pro 2 is used. The Pro 2 is a Control Voltage powerhouse, with four assignable CV ins and outs (8 total) making it the perfect test rig to push the LittleBits farther into modular synth territory."
"Combine a LittleBits Micro Sequencer, CV and Power module and you have a fun, low cost CV Step Sequencer. It can be used with LittleBits equipment, or can enhance other CV synth systems. Here are a few examples of the possibilities when used with a Moog voyager and CP-251 Control Voltage Processor."
"The MX BK/BU series synthesizers feature carefully selected sounds taken from the Yamaha MOTIF XS. That powerful sonic palette is packed into sleek packages (available in 49- and 61-note versions) that fit today’s on-the-go life style. But the MX BK/BU Series aren’t just synthesizers; they are designed to bridge the gap between hardware and software. By adding extensive audio and MIDI USB connectivity, advanced DAW and VST controller features and a suite of powerful music production software, the MX BK/BU integrate hardware reliability with controller flexibility to give you the best of both worlds at a ground breaking level of affordability.
Features:
Over 1000 Sounds from the MOTIF Series – The MX BK/BU series contains more than 1000 Voices derived directly from the Yamaha MOTIF XS music production synthesizer. From realistic acoustic sounds like piano, electric piano, strings and drums to complex 8-element synth sounds, the MX BK/BU puts favorite MOTIF XS Voices at your fingertips. The newly designed category selection makes it easier than ever to find the Voice you need. You can even edit and store your own sounds right onboard.
Class-compliant, “plug and play” USB audio/MIDI – The MX BK/BU series features class-compliant, “plug and play” USB audio/MIDI with iOS, Mac and PC. Just plug it in and your MX BK/BU synthesizer becomes your audio and MIDI interface for the rest of your music studio. Monitor all the sounds from your computer via the headphone output of the MX BK/BU or listen to your DAW tracks by connecting the MX BK/BU to external studio monitors or PA gear. The audio converters on the MX BK/BU are made for professional music applications so everything on your computer — even games — will sound better when using the MX BK/BU as the output. The MX BK/BU interface is bi-directional for digitally recording your MX BK/BU directly to your computer or iOS device resulting in high-quality audio.
Plug and Play, “FM Essential” – “FM Essential” is an FM synthesizer app for iPhone and iPad with real-time synth performance and editing. Connect your iOS device to the Yamaha music synthesizer MX BK/BU, and you can do following:
Play all 271 high-quality Voices consisting of preset sounds from the V50, TX81Z and DX100 Legacy FM PLUS presets and combination Voices specially made for the MX BK/BU series.
Change Voices of FM Essential and control various parameters via the MX BK/BU onboard controllers.
Store your changes
Easy Split /Layer Performance Mode – Performance Mode on the MOTIF has always been the place to find instant inspiration and the MX BK/BU is no different. You can easily combine two Voices to play on the keyboard using the dedicated Split and Layer buttons each with their own intelligent arpeggiator and a dedicated Part for a drum track to create evocative Performances that feel like a whole band is playing. The 128 Performances on the MX BK/BU are all user editable so you can customize them for your style of music.
16-Part Multi Timbral and 128-note Polyphony – In addition to Splits and layers, the MX BK/BU features full 16-Part MIDI for creating entire arrangements using DAW software. This also lets you create live performance sets where you can switch between parts without any sound cutoff.. With 128 notes of polyphony there are plenty of notes to play even the densest sequences from your DAW. These features make the MX BK/BU the perfect tone generator solution for live performance and live playback of DAW MIDI tracks.
Extensive Hands-On Controls for VSTs and DAWs – The MX BK/BU also features solid knobs and durable buttons for controlling internal sounds, DAW parameters and VST instruments. The deceptively simple interface is combined with a remote template editor on your computer so any VST you own or any new VSTs you buy can be easily setup to be controlled by the MX. There are advanced integration templates for use with a variety of DAWs. When used with Cubase, there is even an AI knob so any parameter can be controlled by the large rotary encoder just by mousing over it. It’s never been quicker to take full control of Cubase.
Complete Suite of Music Production Software Included – The MX BK/BU series is the only hardware synth in its price range to come with a complete suite of music production software tools. The included Steinberg Cubase AI features 48 audio tracks and 64 MIDI tracks, notation, built-in VST effects, so with just the MX BK/BU and AI you can do complete productions. But we didn’t stop there; it comes bundled with Steinberg Prologue and the Yamaha YC-3B organ emulator so you have some compelling VSTs to get started. Plus there are Remote Template editors for setting up controls of VSTs.
Cubasis LE – In addition to Cubase AI, the MX BK/BU series is compatible with Cubasis LE, a DAW app for iOS. Connect MX BK/BU to your iOS device (requires Lightning to USB Camera Adapter) and unlock USB audio and MIDI recording between MX BK/BU and Cubasis LE.
Complete Analog and Digital Connectivity – In addition to the USB audio/MIDI port, the MX BK/BU has a USB TO DEVICE port for external data storage to USB flash drive. You can even play back .WAV data from the flash drive. If you want to add a tablet or an MP3 player to your system just connect to the AUX input using a mini stereo cable and you are ready to go.
Lightweight Design with a Quality Keyboard – While almost all other keyboard controllers use inexpensive OEM keyboards, the MX BK/BU series features an expertly crafted keyboard that only Yamaha — the world’s largest keyboard manufacturer — could produce. Weighing only 3.8kg (MX49 BK/BU) or 4.8kg (MX61 BK/BU), either synthesizer can be carried easily with one hand. MX synthesizers have a compact design so they are easy to carry to the gig and also fit easily into today’s compact home music production studios.
VCM Effects – MX BK/BU synthesizers come equipped with VCM (Virtual Circuitry Modeling) effects, which simulate vintage effectors at the circuit level. The sounds of the ‘70s are brought back to life, through simulating the hard-to-find vintage sounds of equalizer, flanger, phaser, and wah effects introduced by the keyboard legends of the era."
"Featuring an FM tone generator, FM Essential is a synthesizer app for the iPhone and iPad that provides for real-time synth performances and also lets you edit voices.
-Drum Part
Tone Generator: Audio
Part: 1
Drum Pad: 16
Drum Pad Set: 3
Functions
Plug into MX!
-You can play full 271 voices and voice store function if you connect your iOS with Yamaha music synthesizer MX BK/BU series.
Effects/EQ edit
-You can adjust parameters to edit effects and equalization.
Ball controller
-Touch and drag in ball controller to modulate the sound by simultaneously changing multiple parameters based on the ball position.
Step sequencer
-We can store the ball position in the currently selected scene box.
Arpeggiator and chord pads
-You can play Arpeggiator and Chord pads in addition to keyboard with various scales.
What's MX BK/BU/WH series? Find more here:
http://jp.yamaha.com/products/music-production/synthesizers/mx_bk_bu/?mode=series
[Support]
-Compatible with Audio Bus、Audio Unit Extentions
-Compatible devices:
iPhone 5S, 6/6 plus, 6s/6s plus and SE, iPod touch 6th Generation or later, iPad Air 1st Generation or later, iPad mini 2nd Generation or later,iPad Pro"
There are 12 videos in this playlist by martinjazz78. They start with Moog's recently discontinued Minimoog Model D followed by the Voyager. Other gear featured include Analogue Solutions Telemark - K, the Dreadbox Erebus, DSI Polyevolver, Sequentix Cirklon, and a Rhodes. There are a couple of live band performances in there as well.
Playlist:
1. New Minimoog D - Brass Patch Solo - Complete Session
2. New Minimoog D - Brass Patch Solo #2 with Rhodes, Telemark and Erebus
"Published on Jan 11, 2017
This is complete session video of my dawless improvisation on the new Minimoog Model D. I started with sort of brass patch with filter modulation and filter tweaking and little bit more of glide, but it develops and changes to not so brassy lead throughout the video. Sequences on the background are Erebus by Dreadbox and Telemark-K as well as DSI Polyevolver.
"New features from Nova Mod
* VCF FM : Amazing new sounds are now added through this feature. Six FM sources are available
* LFO Clock Input : Syncing Arpeggiator and LFO to external drum modules and sequencers is now possible. As well, interesting feedback loops can be created.
* PW Modulation Source Selection : Now you can choose a pulse width source. It is independent from the LFO's waveform setting. OSC sources are included.
* Pulse width to near 0% : Pulse width effects are now made more extreme and powerfull
* External audio input : the ability to do FM of VCF by an externalaudio source or to simply route a signal into the audio path is now provided.
* VCF CV input : Just plug in a foot pedal or a CV from a midi convertor and your sh-101 will sing!
* LFO rate Scalar : Ever hear a bell sound out of sh-101? Try this on Hi! Want a really slow sweep...you got it too.
* Overdrive Knob : Filter cleaning
Nova Mod Details :
Pulse width to near 0% - By closing the pulsewidth to a spike, new sounds can be attained by the sh-101. This "spike" wave source is very useful for brightening a bass patch. (A bass patch, with only the sub OSC waveform assigned, can be brightened, but not raise in pitch, by adding a little pulse width signal with a manual setting of less than 1% duty cycle.) In another other application, in which only full ramp waveform is assigned, manually raising and lowering the spike waveform's amplitude has been compared to sounding like a wavetable sweep. As well, LFO mudulation of the pulsewidth is made more dramatic because of the closer approach to 0%.
Pulsewidth Modulation Source Selection - A six-way rotary switch enables you to choose the pulsewidth modulation sources independently of the LFO's waveform setting. This modulation source makes many new and interesting sounds. A randomly modulated pulsewidth is especially unique and pleasant. The PW modulation sources are LFO Triangle / LFO Square / LFO Random / Sub Osc -1 Octave Square* / Sub Osc -2 Octave Pulse* / LFO Noise *The sub Osc Mod sources creates a unique bass enhancement because of their higher frequency and keytracking. The result is a richer and deeper sound. As well, although there are only two sub Osc sources, changing the sub Osc switch -1/-2/-2 results in even further modulation effects.
LFO Rate Scalar - A three-way toggle switch scales the overall range of the SH-101's internal LFO Clk (the existing lfo rate slider still functions normally). The scalar setting are Normal/Low/High. In the Low setting, a cycle of 40 seconds can be attained. This is great for mild changes in "trance" type music. In the High Mode, up to 1200Hz can be used to create interesting cross-mod bell like sounds. Perfect for "industrial" music and clanging metalic sounds. High mode works especially well when creating synthetic kick drum patch or short-wave radio sounds.
LFO Clock Input - A 1/4" jack allows the insertion of an external clock signal to drive the 101's LFO. This injected signal triggers the LFO but does not change it's waveform. By applying a clock, LFO and Arpeggiator are both synced to the external source. This makes for very moving and groovy patterns with only a drum box and Mova-modded 101. A particularly nice application is to modulate the VCF cutoff with a Random LFO while playing the sequencer. Of course you can, at the same time, inject a seperate clock intot he arpeggiator via the 101's Ext Clk jack. This will enable you to run the arpeggiator and LFO at different speeds. As a bonus, audio can be injected to drive the LFO. A simple trick is to patch the headphone output into the Ext' LFO input. This feedback loop makes for sounds that can be mildly distorted to heavily distorted by simply adjusting the VCF's mod amount.(No need for an external distortion processor!) This effect is great for slow sweeps with a resonating filter setting.
External Audio Input - A 1/4" jack and toggle switch allows external audio to be injected. A rotary pot controls the amplitude of the injected signal. It can be routed to one or two sources. 1./ directly into the filter along with the OSC's waveforms. External processing of audio through the VCF and ENV is . 2./ into the VCF's cutoff modulation point. (An external FM source.)
VCF CV Input - An external CV can be applied to the 101 via this 1/4" jack. This feature is typical on a Juno-60, Jupiter 4 and Pro-One. A MIDI controller converted to a cv or an "expression" foot pedal are typically connected one.
VCF FM - VCF Fm is the most powerful NOVA-MOD feature. It can be used in moderation to simply add bringtness to a bass patch with low frequencies (due to subtractive synthesis). Or it can be used to create powerful cross-mod sounds that are difficult to explain....they must be heard. These sounds are somewhat aggressive, distorted, bell like but most importantly, not attainable on a regular SH-101. One example : Dial a patch with only ramp waveform assigned but at the same time, modulate the VCF Cutoff with the Pulsewidth. Manually change the pulsewidth to vary the FM effect. It is quite unique. You can then switch in Sub Osc -2 Oct. Pulse as the Fm source then adjust the -1oct/-2oct/-2oct switch to change the sound further. Finally swing the Pulsewidth waveform as the Fm source but switch from Manual to LFo modulation and then play with the PW Mod's waveform. A rotary pot controls the amount of modulation. A six way rotary switch selects the FM sounce : Pulse / Ramp / -1 Octave Sqr / -2 Octave Sqr / -2 Octave Pulse / Noise Waveform"
"Turn your iPhone/iPad into a powerful synthesizer! Alchemy Mobile includes everything from evolving soundscapes and fat bases to lush pads and pulsing arpeggios. This is the iOS version of Camel Audio's award-winning Alchemy synth - the leading sample manipulation synthesizer which can be heard on thousands of records and films by world-class artists.
Discover an almost limitless palette of sounds using the unique remix pad to morph between sound variations. 16 controls including cutoff, resonance, ADSR and effects parameters are specially selected for each preset to make tweaking sounds to fit your music easier than ever.
The Alchemy Mobile interface was designed with ease of use in mind. You can play the mini keyboard built into the app, which features scalable key size and one touch major and minor keys so even the clumsiest fingers can play along with friends. You can also plug in an external Core MIDI keyboard.
Using Alchemy with other apps like NanoStudio and Garageband is easy, thanks to the included loop player. Simply paste a loop from your sequencer into Alchemy Player, hit record, and play in your killer bass part, and then paste the resulting loop back into the sequencer. Alchemy Player is the first iPhone app to feature exposé, which makes switching between pages a breeze.
Want to know why Alchemy Mobile has such amazing sounds which can change so drastically with a tap of the remix pad? The performance controls and remix pad are linked to the most powerful synthesis engine on iOS, which allows you to morph and change the sound in radical ways not possible with any other synth. Alchemy's VA synth, sampler and granular and additive resynthesis, combined with almost unlimited modulation sources, effects and a flexible arpeggiator are used to power this expressive way of creating new sounds for your music.
The free version of Alchemy Mobile includes 25 sounds, with a further 25 available when you register for free with Camel Audio. You can expand Alchemy Mobile with a wide range of sound libraries such as BigTone, Cinematic and Arp Dimensions from world class sound designers. The libraries each contain 50 sounds (400 variations) and are available as in-app purchases.
Alchemy is programmed to make the most of your device, so the more recent your model the higher the polyphony and the lower the latency.
Alchemy Mobile Free features:
- remix pad to morph between sound variations and create your own sound
- 16 performance controls so you can easily tweak sounds to fit your music
- most powerful iOS synthesis engine with VA, sampler, granular and additive resynthesis
- external MIDI keyboard support
- loop player with 25 drum loops included
- copy and paste support for easy integration with sequencers
- built in keyboard with scalable keys
- one touch major and minor chords
- iPad native version included
- 25 sounds with 25 more free when you register
- add on sound libraries available as in-app purchases
PRO UPGRADE DESCRIPTION
With the Pro upgrade, you can remotely control Alchemy or the free Alchemy Player on your desktop computer. Easy one touch access to the remix pad and preset selection means you'll spend more time getting inspired and less time reaching for your mouse. The Pro upgrade comes with an extra 75 presets and 25 loops and you can download Mobile versions of the desktop Sound Libraries you own for free. Since the same presets are available in the desktop version, you can find the perfect sound for the tune you are working on whilst you're on the go. Upgrade to the Pro version via in-app purchase from the presets menu.
Pro Upgrade features:
- remote control of Alchemy or Alchemy Player on your desktop computer
- download Mobile version of any desktop sound libraries you own for free
- 125 sounds
- 50 loops"
"IK MULTIMEDIA Italia has decided to entrust me with the first unboxing in Italy of the new Uno Synth Pro X. What an honour! Obviously, I did things a bit my way and forgive me if you find some mistakes in the shots and in some sounds but I had very few days to prepare this video. In the end I enjoyed it so much that in addition to the unboxing you will also see him play.
A Synth Pro X is a 3-oscillator monophonic/paraphonic analog synthesizer (thus with 3-voice paraphony) with a versatile design and a wide range of functions. It features two state-variable filters, 10-mode arpeggiator, a 64-step sequencer, 12 studio-grade effects, and much (much) more. Here are some of the main features of the Uno Synth Pro X: 3 analog oscillators 2 state variable filters in series or parallel (OTA LP/HP multimode and LP 12/24 db/oct auto) 10-mode arpeggiator Elektron-style 64-step sequencer with random mode 12 studio effects (modulations/delays/various reverbs) Stereo sound output Mono audio input 2 programmable and automatable CV GATE inputs MIDI port USB port 256 presets Power supply via USB or power adapter Editors! The sound is undoubtedly modern, in my opinion in step with most of today's sonorities. Sometimes it's hard to even keep it at bay especially when using the drive. The effects are really beautiful and are probably the non plus ultra of the machine, in particular the reverbs, which I liked a lot. The "Bassline" key is brilliant, which literally modifies some parameters of the synthesizer giving some "limitations" that go a bit to remember the characteristics of the 303, such as the cutoff which will be limited up to 5K hertz!"
Click here for additional posts on the UNO Synth Pro X.
"The Moonwind is a true analog stereo filter with built-in step sequencer, a fantastic sounding digital effects chip, 2 LFOs and envelope modulation.
Everything is storable and controllable via MIDI.
You can control the Moonwind like a synth with midi notes and play tunes on the filters when they whistle in self-resonance.
The sequencer can record the Cutoff, Q and Resonance per step and filter, turning a stereo filter with analogue feedback effects into a creative instrument
This makes the Moonwind to an easy-to-use and high-quality analog sounding sound engine that is playable like a synth and can be seamlessly integrated into a DAW recording system.
gstormelecto XaVCF Test Filter Circuit [Audio Only Demo]
Published on Feb 16, 2020 gstormelectro
"Audio and Video by G-Storm Electro c. 2020
I've been getting requests for demos of my upcoming XaVCF module.
It will be a eurorack adaptation of the OB-Xa filter.
More info at https://www.modulargrid.net/e/g-storm...
You know this sound from Rush Tom Sawyer and Van Halen's album 1984.
While we're all eagerly awaiting the module prototype I thought
I would share a brief sampling from a mini-lab test circuit.
A more thorough overview of the module will happen when it gets built.
So be on the lookout for that one in the near future.
The XaVCF will sound pretty far out.
We're talking about full on intergalactic blast off here.
Headphones recommended. BUT!...
Watch your levels, thick resonant sweeps ahead!
Prepare for ignition...
3...
2...
1...
Timestamps
0:00 Classic 2-Pole resonant drop sweep
0:16 4-Pole Resonant Riser
0:41 2-Pole pure self-oscillation sweep w/ tracking
0:56 ...add both VCOs back in, slow sweep through sweet spots
1:40 2-Pole pure self-oscillation musical sequence
2:05 1-Pole Bandpass LFO modulated
VCOs: 101-VCF, Pittsburgh Synthesizer Box
LFO: Batumi
Delay: Timefactor
Sequencing/Control: Beatstep Pro
No mastering, no eq, nor additional post-effects added."
"The XaVCF is a faithful adaptation of the OB-Xa filter in Eurorack with added features.
As with the original, the XaVCF has two filter circuits to choose from! The heart of both designs having each its own Alfa reissue AS3320 chip. The XaVCF has the original Modes: a 4-Pole standard Lowpass circuit, and a 2-Pole Lowpass derived from a State-Variable circuit. Additionally there are 1-Pole Bandpass and Lowpass modes not available on the original!
Both filter circuits on the XaVCF not only have musical self-oscillating resonance w/ CV control, but the frequency cutoff can be tracked V/Oct using the CV2 input jack. In this way the XaVCF can be used as a sine wave oscillator. Unlike some older classic filter designs, the XaVCF retains a lot of low end at higher resonance.
The XaVCF is drenched in that fat and creamy wall of sound you’ll not soon forget. Are you ready for the Xa experience?
FEATURES
* Two selectable filter circuit configuration Types: Type I-SVF 2-Pole Lowpass, and Type II 4-Pole Lowpass.
* Additional Modes: Type I 1-Pole Bandpass, Type II 1-Pole Lowpass
* Two voltage controlled input jacks for Frequency CUTOFF w/ signal attenuators. CV1 is an extended range input capable of providing some boost to weaker control signals. The CV2 input will track V/Oct when its pot is fully CW.
* A voltage controlled input jack for RESONANCE w/ a signal attenuator CV3.
* Two audio signal input jacks w/ individual attenuators. Above midpoint, these inputs can overdrive the filter from most Eurorack oscillators and audio sources. This is especially useful in Bandpass Mode to compensate its weaker audio output signal.
Available late February 2020
Be sure to check out my other cool modules in my Reverb Store"
A quick note: This review is long. You can jump to sections that interest you vs. reading it straight through if you prefer. This review focuses primarily on the synth engine for one single patch on the Venom. The Venom supports Multi mode with up to four multitimbral parts. Not only can you layer sound programs but you can set global parameters for the set. Be sure to see the Multi mode section of "Tips and Tricks via Taiho Yamada" at the end of this post. Taiho is the Lead Project Manager of the Venom and served as my contact during the review. I want to thank Taiho for his help and enthusiastic generosity. He is a true synthesist and the Venom is his baby.
Synth connections: Taiho previously worked at Alesis on the Andromeda A6. The DSP developer of the Venom worked on Radikal Technologies' Spectralis and the Accelerator. People that contributed to the presets via sound design include Richard Devine, Francis Preve, Mark Ovenden (Avid's AIR Instruments, ProTools VIs), Joerg Huettner (Waldorf, Access, Alesis), and of course Taiho Yamada.
*Don't miss the "Q&A with Taiho" section towards the end of the review. Also keep an eye out for "Taiho's Tips and Tricks" throughout the review in grey. You can find the consolidated list below the Q&A section.
"In this video I will show some cool patches with SH5-VCF Dual Filter.
As per usual, listening w/ headphones or quality monitors is the best audio experience.
Watch your levels, this is a filter demo w/ some resonance ahead.
Check my Reverb store for SH5-VCF, 101-VCO, 2xVCA, 2xADSR availability
Currently I only sell exclusively on Reverb, I hope one day to sell in stores outside the USA.
SH5-VCF is an all analog Eurorack adaptation of the Roland SH-5 mixer and Dual Filter. There are no filters-on-a-chip here. The SH5-VCF uses all discrete components and quality op-amps to work its special mojo. Like on the original, the Low Pass circuit is comprised of open-collector matched transistor pairs arranged in a diode ladder configuration. The lack of temperature compensation was also respected, so while the resonance can self-oscillate the v/oct keyboard tracking is about 3 octaves at best. This same configuration used in the Roland SH-1000 and the earlier System 100 (not 100m).
The Dual Filters: VCF + BPF | VCF | The VCF (Voltage Controlled Filter) comprises one HP (High Pass) and one LP (Low Pass) circuit in series. VCF Select switch can choose 1) HP, 2) LP, or 3) BP (Band-Pass) configuration. Due to the unique design, the HP resonance is actually derived by overdriving the LP circuit. | BPF | The dedicated BPF (Band Pass Filter) has its own discrete circuit distinct and apart from the VCF. The original BPF circuit has been respected, but greatly expanded upon using a proprietary voltage controlled feedback path to enable frequency control via external signals. This feature wasn’t available on the original design. The original did not have a buffered output jack for the BPF neither, as the SH5-VCF does. The BPF Level attenuator will affect the main output only.
The MIXER There are four audio signal inputs, each with its own fader pot and filter routing switch. Each routing switch can send each audio line to either VCF, BPF, or both VCF + BPF.
The 3 CV MODULATIONS – Choose Wisely Incoming CV signals can be used to modulate any filter frequency cutoff. Signals can be up to +/- 10Vpp DC polar or AC bi-polar at the inputs. | CV1 | has inverting and non-inverting behavior where zero is at 12:00. | CV2 | has non-inverting behavior for both filters, and inverting available to VCF only | KB | is a non-inverting V/OCT Keyboard Tracking control available to both the VCF and BPF, typically a Keyboard Voltage – but can be any kind of polar or bi-polar signal.
A Eurorack power connection ribbon cable is included. To get the most out of the filter experience follow your filter with a VCA. The filters require startup voltages on the low end to avoid audible thump, so there will be sub-frequency audio seepage. A post-filter VCA (sold separately) is recommended to gate the filter. Be sure to check out the G-Storm Electro 2xVCA when available.
The SH5-VCF pairs well with (sold separately)… GSE 101-VCO + 101E output expander GSE 2xVCA GSE 2xADSR Xaoc Batumi Quad LFO
Specs Width | 16HP Depth | 35mm Weight | 6.3 oz Inputs | 4 audio, 3 control voltage Outputs | 1 main output, 1 BPF output CURRENT DEMANDS (measured) +12V: 48mA -12V: 48mA +5V: 0V *not used*"
